Note:In order to find a course in the new 4 digit numbering system using an old 3 digit number, please refer to the conversion list below. Before registering for courses with the new 4 digit numbering system, please ensure that you have not previously taken the course in its 3 digit form.

Students whose principal instrument is other than piano, organ, or harpsichord must demonstrate keyboard proficiency of at least the Conservatory Grade VI level, either by presentation of a Conservatory certificate, or by passing an equivalent test offered periodically by the Faculty. Satisfaction of this requirement is strongly recommended before entrance, and required for admission to the BMus (Honors) programs. Students needing instruction to meet this requirement must make their own arrangements at their own expense.

A basic course to acquaint students with the materials of music and to give a broad perspective of the history of music. Through guided listening, the student will be exposed to a wide variety of musical styles.

This course is divided into two parts. To obtain credit, both parts must be taken. Performance: Individual lessons arranged by the Faculty of Music. Credit for this course will be determined by the student's progress during the year and by a final performance examination. Survey of Music Literature I: Baroque, Classic and Romantic repertoire. Students will be expected to prepare works for class performance. May be available for credit in BA(Music) programs with permission of the Dean.

Prerequisite(s): Grade VI level demonstrated by audition. Non music students must contact the Faculty of Music before classes begin to receive audition information. Students will be billed a fee upon registration. (See Fees section of Calendar.)

A survey of various music cultures of the world, including First Nations musics. This course aims to broaden the musical and socio-cultural perspectives of students as they explore musical systems, ideas, and aesthetics of other cultures. Lecture format, audio and video examples, guest presentations and hands-on experience.

Development of basic musicianship skills through the practice and application of sight-singing techniques, ear-training procedures, and keyboard harmony exercises. Materials for all components will include scales in all major and minor keys, diatonic chords, fundamental melodic patterns and harmonic progressions, and modulation to closely related keys. In addition, the keyboard harmony component will include elementary exercises in harmonization, fiqured bass realization, transposition, and score reading using C, F and G clefs.

Basic theoretical concepts through writing and analytic assignments. Covered in the course will be diatonic vocabulary, principles of voice- leading, the concept and practice of tonality, simple modulation, introduction to seventh chords and secondary dominants. Small forms from c.1700 to the early nineteenth century will be analyzed.

Continuation from Music 1649A/B of basic theoretical concepts through writing and analytic assignments. Introduction of melodic figuration and suspensions, nondominant and secondary dominant seventh chords, and modal mixture. Continuation of the study of small forms.

A practical approach to performance practices of the late 18th and early 19th centuries and the oral traditions represented in scores. Topics include: phrasing, tempo, ornamentation, expression, gesture.

Introduction to the foundations and principles of the teaching of music. The nature and value of music education are examined with reference to major issues, methodologies, and approaches to musical learning. Observation of selected music teaching situations.

The fundamentals of singing, including breath control, tone production, diction, and repertoire are introduced in a group setting. Solo and small ensemble performing assignments are made according to individual vocal need and level of ability.

Individual lessons. For students registered in a Faculty other than Music, and for Music students registered in a year in which Applied Music study is not required, or who are eligible for the study of more than one principal instrument.

Antirequisite(s):

Prerequisite(s):Audition and permission of the Dean. Non music students must contact the Faculty
of Music before classes begin to receive audition information. Students will be billed a fee upon registration. (See Fees section of Calendar.)

The techniques of singing, vocal repertoire, and performance styles introduced in a group setting. Some solo and small group performances are assigned as determined by individual need and level of ability. Participants in this course should be able to read music. This course is not available to Bachelor of Music students.

This course is divided into two parts. To obtain credit, both parts must be taken. Performance: Individual lessons arranged by the Faculty of Music Credit for this course will be determined by the student's progress during the year and by a final performance examination. Survey of Music Literature II. Music repertoire and performance practices with special emphasis on contemporary trends. Students will be expected to prepare works for class performance.

Antirequisite(s):

Prerequisite(s):Grade VII level demonstrated by audition or Music 1140.

Corequisite(s):

Pre-or Corequisite(s):

Extra Information:May be available for credit in BA (Music programs with permission of the Dean. Students will be billed a per term fee upon registration. (See Fees section of Calendar.) 1.0 course.

A survey of various music cultures of the world, including First Nations musics. This course aims to broaden the musical and socio-cultural perspectives of students as they explore musical systems, ideas, and aesthetics of other cultures. Lecture format, audio and video examples, guest presentations and hands-on experience.

Development of basic musicianship skills through the practice and application of sight-singing techniques, ear-training procedures, and keyboard harmony exercises, in continuation of Music 1636A/B. Materials for all components will include chromatic melodies, applied chords and inlcude multi-voiced textures. The keyboard harmony component will include harmonization of chromatic melodies, and advanced exercises in figured bass realization, transposition, and score reading.

A practical introduction to electroacoustic music composition, including digital hardware and software. Students will study appropriate concepts, terminology, and repertoire, and will compose original music in the electroacoustic medium.

The history, nature and function of popular music, with particular reference to rock music. The course will emphasize musical styles, form, instrumentation, vocal timbres and performing style through a study of representative works

The contexts and forms of popular theatre in which music plays a vital part. Emphasis will be on such twentieth-century genres as the Musical, Rock Opera, Musical Comedy, Comic Opera, Operetta and Vaudeville.

A study of techniques songwriters, performers, and producers employ to create effective verbal and musical arguments in a variety of genres, focusing on structural elements of lyrics and music, performing styles, and arrangement (mixing). Aural analysis or recordings will be supplemented by transcription exercises.

Individual lessons. For students registered in a Faculty other than Music, and for Music students registered in a year in which Applied Music study is not required, or who are eligible for the study of more than one principal instrument.

Antirequisite(s):

Prerequisite(s):Music 1925 and permission of the Dean. Students will be billed a fee upon registration. (See Fees section of Calendar.)

Intensive study of Italian and German lyric diction and IPA for both languages, including IPA transcription and pronunciation, and performances of songs transcribed into IPA. Students will develop an understanding of the flow of each language in relation to music and in relation to word meaning.

Performing and technical aspects of the production of opera, including musical and dramatic interpretation, stage movement, techniques of stagecraft, lighting, scene construction, make-up, costumes. An audition is required. Available to students in other faculties by permission of the Department.

Antirequisite(s):

Prerequisite(s):For Faculty of Music students: First year, permission of the student's Applied Music Teacher and permission of the workshop director. For non Music students: completion of a successful audition.

The study and performance of selected works form the Chamber Orchestra repertoire with an emphasis on music of the twentieth century. An audition is required. Available to students in other faculties by permission of the Department.

The study and performance of selected works form the Chamber Orchestra repertoire with an emphasis on music of the twentieth century. An audition is required. Available to students in other faculties by permission of the Department.

The study and performance of selected works in the chamber music repertoire. An audition may be required. Students accepted into the course will be assigned to small ensembles. Available to students in other faculties by permission of the Department.

An intensive course of applied vocal instruction and performance practice. Focus is on vocal technique in the bel canto tradition and performance practice of art song and operatic repertoire. The course includes studio instruction from voice faculty, coaching from a vocal coach (pianist), and participation in masterclasses. Participants present a final public concert.

A study of the chordal vocabulary and harmonic syntax of the music of the late 19th and very early 20th centuries, principally through written exercises. Some analysis may be undertaken in order to demonstrate techniques and procedures.

Structural principles in music of the late Baroque and Classical periods. Structures to be studied include invention, fugue, passacaglia, variations, binary and ternary forms, da capo aria, sonata-allegro and rondo.

Study of the practice of modal counterpoint in sixteenth-century style. Development of written skills through species counterpoint and free counterpoint in the style of Palestrina and other masters of sacred vocal polyphony, such as Victoria and Lasso.

Study of the practice of tonal counterpoint in Baroque style. Development of written skills through species counterpoint and free counterpoint in the style of J. S. Bach. Composition of pieces such as choral preludes, binary dances, inventions, and fugal expositions.

Continued study of the terminology and technology of electronic music. Historical development, musique concrčte, the "classical" studio, the synthesizer, and computer applications. Survey of the literature with some analysis. Compositional techniques and notation peculiar to electronic music and its real time performance.

A practical study of the principles of bel canto between c. 1750 and c. 1830 in the music of Handel, Mozart, Rossini, and others. Topics include phrasing, ornamentation, register, legato, staccato, messa di voce, tempo rubato, accent and emphasis, recitative and air.

Independent research project for senior students in the Bachelor of Music with Honors (Music History) program. Topic and methodology to be determined on an individual basis through consultation between the student and the supervising professor.

Antirequisite(s):

Prerequisite(s):Permission of the Department of Music Research and Composition.

Independent research project for senior students in the Bachelor of Arts (Specialization in Music Administrative Studies) program. Topic and methodology to be determined on an individual basis through consultation between the student and the supervising professor.

Antirequisite(s):

Prerequisite(s):Permission of the Department of Music Research and Composition.

Organization and development of choral ensembles. Problems of rehearsal and performance. Intensive examination of choral compositions, editions, arrangements, and collections. Practical experience in programming and conducting.

Organization and instrumentation of standard instrumental ensembles, conducting techniques and rehearsal procedures suitable for various ensembles. The use of ensemble literature and materials including bibliographic sources.

An introduction to the components of a comprehensive music curriculum for elementary school children. Emphasis is placed on reflective practice and the development of the knowledge, skills, and experiences necessary to plan and implement a music curriculum for a pluralistic society.

The study of issues such as musical authenticity, ethnocentricity and appropriation as they relate to culture and diversity in the music classroom. Implications for pedagogy, implementation, and course design are considered.

Antirequisite(s):Music 365b, if taken in 2002-03 or 2006-07; Music 3861B, if taken in 2008-09.

An introduction to the use of computers and related technology, including digital music instruments, in classroom music teaching. Study of the MIDI (Musical Instrument Digital Interface) international communications protocol for electronic music equipment, and digital sound generation and manipulation. Applications of computer-based music sequencing and editing in music instruction.

Individual lessons and participation in performance class. For students registered in a Faculty other than Music, and for Music students registered in a year in which Applied Music study is not required, or who are eligible for the study of more than one principal instrument.

Antirequisite(s):

Prerequisite(s):Music 1920 or Music 2925. Students will be billed a fee upon registration. (See Fees section of the Calendar).

Approximately 45 minutes of music performed in a public recital. The program content must be approved by the Department of Music Performance Studies not less than one month prior to the date of public performance. For third-year students registered in the Faculty of Music in Performance.

Intensive study of French lyric diction and diction performance practice. Continued study of IPA for French, including IPA transcription and pronunciation, and performances of songs transcribed into IPA. Application of IPA diction studies in performances of selected repertoire in English, Italian, German and French, and other languages as needed.

Performing and technical aspects of the production of opera, including musical and dramatic interpretation, stage movement, techniques of stagecraft, lighting, scene construction, make-up, costumes. An audition is required.

The study and performance of selected works in the chamber music repertoire. An audition may be required. Students accepted into the course will be assigned to small ensembles, with or without keyboard.

An introduction to contemporary music from 1945 and after, through preparation and performance of appropriate repertoire in a masterclass setting. This course will incorporate oral presentations involving analysis of performance practice issues along with related artistic and cultural topics.

Antirequisite(s):

Prerequisite(s):Registration in third or fourth year Honors Performance or by permission of the Department.

An intensive course of applied vocal instruction and performance practice. Focus is on vocal technique in the bel canto tradition and performance practice of art song and operatic repertoire. The course includes studio instruction from voice faculty, coaching from a vocal coach (pianist), and participation in masterclasses. Participants present a final public concert.

Designed primarily for students with a string principal. With permission of the instructor, the course is also open to students with playing proficiency on string instruments. A thorough investigation of the history and philosophy of the Suzuki movement and its particular application in the Canadian community. A study of the twelve volumes of music literature developed by Suzuki with particular attention to the pedagogical principles embodied in these materials; practical assignments in the application of Suzuki concepts.

A study of the Kodály principles of music education as applied to the beginning level of music instruction. Advanced training in aural skills, pedagogy, Canadian folk song materials, and choral techniques appropriate to the application of the Kodály concept in Canada.

A study of the Kodály principles of music education as applied to the intermediate level of music instruction. Advanced training in aural skills, pedagogy, Canadian folk song materials, choral techniques and choral conducting appropriate to the application of the Kodály concept in Canada.

A study of the Kodály principles of music education as applied to the advanced level of music education. Advanced training in aural skills, pedagogy, Canadian folk song materials, choral techniques and choral conducting appropriate to the application of the Kodály concept in Canada.

Research techniques and source materials used in music education at the elementary school level. A comparative study of the materials and procedures in music education with special attention given to the work of Orff, Dalcroze, Kodály, and Suzuki.

An introduction to the psychology of music emphasizing research in psychoacoustics, perception, and cognition. Studies will be examined that offer principles of learning applicable to music education curriculum development and practice. Beginner-level evaluation techniques based on experimental research procedures will also be acquired.

An introduction to philosophy of Music Education. Emphasis is placed on the critical examination of music education philosophy and practice and also on political and other factors affecting music education in school and society.

Individual lessons and participation in performance class. For students registered in a Faculty other than Music, and for Music students egistered in a year in which Applied Music study is not required, or who are eligible for the study of more than one principal instrument.

Approximately 60 minutes of music performed in a public recital. The program content must be approved by the Department of Music Performance Studies not less than one month prior to the date of public performance. For Performance majors only.

Approximately 50 minutes of music performed in a public recital. The program content must be approved by the Department of Music Performance Studies not less than one month prior to the date of the public performance. For students in the third year of the Three-Year Artist Performance program only.

Approximately 60 minutes of music performed in a public recital. Program content approved by the Music Performance Studies Department. For students registered in the Artist Diploma in Performance (One-Year Program).

A study of the solo and teaching repertoire of all stringed instruments, including an examination of teaching techniques. This course is required of all string students registered in Performance in the fourth year and is open to others by Permission of the Department.

The study and performance of selected works in the chamber music repertoire. An audition may be required. Students accepted into the course will be assigned to small ensembles, with or without keyboard.

A course intended to teach the pianist and orchestral instrumentalist the principles of ensemble playing as well as the literature of the Solo Instrumental Works with piano. Designed for students majoring in Piano or Orchestral Instruments in Honors Performance, in third or fourth year. Available to other students by permission of the Department.

An intensive course of applied vocal instruction and performance practice. Focus is on vocal technique in the bel canto tradition and performance practice of art song and operatic repertoire. The course includes studio instruction from voice faculty, coaching from a vocal coach (pianist), and participation in masterclasses. Participants present a final public concert.